illliliIfe i Sill'S; 1Pi mmm ® 111tfAMPH 
iWlllifSllii* 


TITU vJ5 


msm 

StHlmMi j! 

1*1 ft it ?urj1 M f 


jrr.ii* '• ptHU vn& :• !•’ 

»V- r yM { • v J , > f <■ t »• *1(11 1 * f fJ-V- }1 ' . > • :C * *• i . 

gg®5g8mH«« SaoPWw i! 

K’vIMUklrfti it)' ,,» T Tf *l[lu , ' l -H M ^ ill 

[tpilfS 5tu •• Cl fl -ttilssf hfl Kifin 
ffifHHKmK . r.iV it '‘Km! l;9 K *Hfl 


f . , ti }«5f ■SoUSSiSlHaisK* e4««lHlcSliZK2 JlK- r j * j |jteSrf?|R]|^t{j|j{K{{|} { WsjiJJKi/fh 

mr ill KHj 


. 1 ® 

WfffBUW 




2014 


tttwK’cw 




U Ci rV > M f' ’ Lik. jnf|v ; »* It; fiu , \ ’'.li. ■ 

I r f 1® ill 

V»*r;cJ£J5;- v ' {;l ■ ■ • •*»*r;. .t*‘ • ■ -ciiKIJ?»*-• • ‘ !i 
elm ; ,y f Tjfg’»*^iTt#{S»? - * 


m mm i8n« 
i J|ra Mmlm 

riliutWmf’rnllCJWWVi'.ul M;, »#W‘inJtUrifirl clUir frl{ik)k7iHv>MTTLiwl)(f OrTirtltliitlll 

HSulm k wffiSw rafews $«88855 


■u'.i: 


030788 — 


i i)t »• 




‘5t»; 


ftf ifT?it 1.?Tlr#ffW1fTlIWrf infiltu**nw«.ngiltTlWmn7?IjDUw«mlJnHtWwirW2nwl JClt*i fTrtflfcillwrwTrTTTflUllTWf tt*L 

^ » Tf T . 1 fc » > J W J T7 il La ¥• l — C T • » < 1 i I . » k. V w*. _ — ^ i I* r - I 


i!j!}!lji;fjilds;] Ic KJk ; 

i ; ■ § nBHflU^^ 

t *i iu>» t t¥Lv»• > s * ft 'Ll r Ci» JV>* • ,r 'XI . •». rrtl I t * r^ik* ;*!:3 I J.m-«>/ #• f t * Isa ••ilL *11 


*•»..‘tfTfiTt* j(vt{jwCiv*y*»*•<),.kjjjwj'3 c;Wh itjtff .ttnrJt*•*':!U»i If*{»{;.){JcJ»*w»ejt 


^rifrtrv 


* >» l*ljt}tjtz'.(k[jt\rjf i J»ivTutf c i/f irtdJf?ki •* itrrCc-'t * ^ McSi • *)}? i!l( ( tr *\} ^tkl n%i• 
rtiijiilJ47>/w>2raK {((• »*r iulitHriJklwr :Lt> <• r3%* *•,; 


, 5 >Hm{ 


it): 


H JW 
Is *y? 


w»'{ 


i!f SiiffllsIIS iiini W'tL ; m- 

lit}»»♦[!' Jill II j t Jv >*/>>» j »• n, 


llJCC,* wffltl! H.f *4/7 ‘UJf IIIU..Wt<.fVff[UUi WVlSHc/ll II 


7' Hw'- 


* iFTijiiTiy fiiuw ij^i %f fff fi t j j/■ 4* t (/^njinftf i iiitrii yi ► 

j jt iijt i i »r ^ ^ ivt y{* lf{f' I?* f*. f ^ i ^ * ’w * 

t • - ♦# >' c*tt3!3!4*l(Jr t tucl t iOyU->f>?[ vflr* MlltjlfrJWttllfW •* 


7<! 


I**J,Tt- 


♦if J3{Sy3* ?*ijlrr|r0;lrxHLilijirt*Jv»4JltSfjj 

illliii 11 


mMw SB m 

V:} i m! ?fi»] i l‘{bv‘»i J * r iH j. * y 


K*J?C7W-jjW* jrj 




SvTt Jt?-5 


{.• J- 




Tf *u' 1} 'flit Cfr 'J*. J*,fj /.)»• ^ f ^ H7j f ir||i|[ y[( 1 ^(l t) vwrrr |l 9 W ffi^rTilf (uftfitiu r ^ |iu ilHflliwI |uC^ w s /w iHlrf ti*f ** llTutfii' 


M c| J *nfi. 1 KKw* U •♦fit 7y^\ t r|i* 4 ji * \ 3 .jifi/T HFtcW - it ft »l» Wl t tf ^Tl I. (# >)v/w^V % Tu(* *( ' ‘KJtlv* (<W fmlOl)w *TTfiLi!i>»tlr ^iTUt ftm !rf?it! fill *A[* 


nPlWir^t® rS !«(g folHt$ IfiSre1?r ■ ? \h\\ * ! 1 m?!8| 

wVfffttiijSwSoaHrti 




•w r # *vv * r- i * f riJuw«» •*▼*▼(* .Ti: Tw I vJw *< »CIt St is »w 'ci 13 i* >• m t * . , ? t y l T / >#vi v t?tiz 111 *eeii' i .).* * - 'ic-C/ Hst W tcTwC * t* ^1X1*7» *• *t >f^»*Tinl'*W l c!k. ■JlJ\»St i fi '*f_jOi. ilitiL 












«* «y o 

% * 

^ V * * * c 

V*V 

A ''V : 

* 6 ... V*' — 


° <?5 ^ 

J> O 
*" 0 0 <$ _ 


• W :'*'; /jVa% 

* ** %> oVJIak* v 5 . ^ . 

<v <^ ''<>.*** G^ to ' 

.^>/°o <+* .wk- A C° .‘J^!%A ..♦♦ 

«. *>* .'b- - 4r(u//y^> * ^ ■<*. ' 

. O V 



\0 tt*, * 

* ^ - 
*.,■>•’ , o 5 ^ » 

% y .•♦-•- *> 



° ^5 ^ 

” ” 0 ’’ -/’ %.'*••' 

C* <V * 

^ \V ♦ rfCV A Ay cA * 

>§M“ ^v 1 • 

% ' p - aV^ *. 

,* v > % 

• « 9 s " ° * » 

* V- u ' e <f> 

^ y~>sr??z -r ^ 

* <\ * [//y? "TT fc w 

: ^o v* :gmzy~ ■*■ o* • 

° 0 5,0 A. "«w|lv ' 

* * ' -14,‘i'. V >° A * v , < 

» ,G ^ " ' 



0 


> 




SS y$* 



? S#mk' A ,<-° ,-^r. °- J 





















- r + ^ V r * \' o 



.'VITOSS' ° kV 

\*'7rT°’ 



<$>• -0> *■ 

V*<V •> 

<*9 vf' j 

'* •% •, __ . 
a° % *'■?; s ' a 

0 ,» o « O 

o ^ O \ v 

Vj *-Hs^Tv w*” O t- 





4° •v 

^ r\ a » </* 

®/1" aP '^p. * 

■4-° .'Xii? *> 

'*- a * *&sr r % + / 

**<V 


c* % : 

* A? ^ 



°^ f ° 

• * >° \ 
.* J *" w ' «,. .a 

uv b ® 

A' <* '•”>• 0’ 

r ,•'■'*'» < ^ > ^ 0^ 0 0 " 0 ♦ 




* V,^ 


vv 


; a v -V 

* ■> ^ 

^o a^ .«.» - * 

' ^ A* *\ * 

/» ^ rfy k & > t> 

« O > 


* w/m<r ' *° ^ 

o S> ^ “ 

°* *’••’• f° 

c\ .0 * 5 * * - <> 

*• % & ' m?% - - * 


® °, 




r 1 c,^ 

_ _ V ^ ^ 

A' ,(F %> 

l » * <£ aV o * o *1 

% -o x ,>;w. * c° ,* ■ - 
a - fm&j’ ■*. a 




4 - - V ^ ° ♦ A 

°o sLjrfrl" + 

oV » ^ 0 Y 

» 0 


* ^ o - C ^XV'‘# , S 

A® % *"’• < 

V » ’ • c\ .0 

^ 'k\VA % \ <? 

•<-F : °, j' v 

C S 

" * 

* 4* 



O' 




w ^ . . s ’ v'V <. 

VA aV ^ 

♦ O A ^ . >• ' • „ < 

° A* * l 
o > 



• ^ °- * 
r- 

^ 4f# ' n " <5> w oho* < 

" • O <0 c s ♦ • ^ ^v 

' «, ^ ,A^a.% \ ,4? S~^*- V 

; ***# • 

S - 7 „ ,V^>. 


* A s 



■••*• .o' '■‘ti. %;'*^ s ' a 

rs^* o « ^ _ '^A. 1 f k '^c 



** ^ 
■<*v 


*° °o‘ t <Of^ S> »‘ 

AV JF ^b 

. ^ 1. 1 /t X> V _ n ~ 
































Stewart Kidd Modem Plays 

Edited by FRANK SHAY 
No. Title* 

1. Sham by Frank G. Tompkins. 

2. The Shepherd in the Distance by Holland Hudson. 

3. Mansions by Hildegarde Flanner. 

4. Hearts to Mend by H. A. Overstreet. 

5. Six Who Pass While the Lentils Boil by Stuart Walker. 

6. The Emperor Jones by Eugene O'Neill. 

7. Sweet and Twenty by Floyd Dell. 

8. Two Slatterns and. a King by Edna St. Vincent Millay. 

9. Sir David Wears a Crown by Stuart Walker. 

10. Thursday Evening by Christopher Morley. 

11. Mirage by George M. P. Baird. 

12. Society Notes by Duffy R. West. 

13. Lithuania by Rupert Brooke. 

14. Eyes That Cannot See by Albert Gnudtzmann. 

15. In Confidence by Alvilde Prydz. 

16. Scrambled Eggs by Lawton Mackall and Francis R. Bellamy. 

17. The Stick-up by Pierre Loving. 

18. The Fountain of Youth by Serdfin and Joaquin Alvarez- 

Quintero. 

19. Thompson’s Luck by Harry Greenwood Grover. 

20. Finders-Keepers by George Kelly. 

21. Why Qirls Stay Home by Maude Humphrey. 

22. Princesses by Helen Haiman Joseph 

Others in preparation 


Stewart Kidd Little Theatre Plays 

Edited by GRACE ADAMS 
No. Titles 

1. The Qhost Story by Booth Tarkington. 

2. Sounding Brass by Edward Hale Bierstadt. 

3. A Fan and Two Candlesticks by Mary MacMillan. 

4. The Trysting Place by Booth Tarkington. 

5. Yniard by John Martin. 

6. The Letters by Frank G. Tompkins. 

7. Nevertheless by Stuart Walker. ' 

8. Pierrot’s Mother by Glenn Hughes. 

Others in preparation 

Bound in Art Paper, each 50 cents. 

- i 









No. 20 

STEWART KIDD MODERN PLAYS 

Edited by Frank Shay 



FINDERS - KEEPERS 


PLAYS 

FOR A FOLDING THEATRE 

By Colin Campbell Clements 

Frontispiece by Ralph Barton 

The seven plays contained in this book can be produced 
in any theatre and on any stage, no matter how inflexible. 
There are three Pierrot-Columbine plays, three plays of 
the East, and one of the sea—all of them artistic and 
planned, as the title suggests, for production on small 
stages. For several of the plays Mr. Clements has de¬ 
signed sets. Three Lepers of Suk-El-Garab is being pro¬ 
duced this winter in the new French Theatre in Beyrouth, 
Syria, where Mr. Clements was living when he wrote the 
play several years ago. 

The plays are: Pierrot in Paris. A morality play in 
one act, the moral being that he also sees who only sits 
and sits. In a little French cafe one night all life comes 
to Pierrot . . . and passes him by. 20 minutes. 

(2 m. 3 w.) Columbine. A play in one act, wherein is 
shown that Love’s experience can’t teach Love’s inexpe¬ 
rience nor thwart its verdant hope. 25 minutes. (2 w.) 
The Return of Harlequin. A play in one act, with Har¬ 
lequin just returned from the war and face to face with 
an unexpected adventure—a little Harlequin. 20 min¬ 
utes. (1 m. 1 w.) Three Lepers of Suk-El-Garab. A 
drama in one act, with all the color, music, and fatalism 
of the East. 25 minutes. (3 m.) The Desert. A drama 
in one act, based on an old Arabic legend told to the 
author one day in Damascus by an Arab sheik. 25 min¬ 
utes. (3 m. 6 w.) The Siege. A drama in one act, on 
an actual experience in Arabia in 1920. Henry Bordeaux, 
of the French Academy, says of it: “I should like to see 
it done in French. Mr. Clements makes one feel that 
thing that is the East." 20 minutes. (3 w.) Moon Tide. 
A play in one act in which the sea “ crawlin’ up out of 
the black mud" avenges the murder of Old Hank, who 
“loved her as if she was human flesh and blood." 20 
minutes. (2m.) 

Silk Cloth. 165 pages. 121710. $2.00. 

24 Turkey Morocco, $7.50. 

STEWART KIDD 


PUBLISHERS 






Finders-Keepers 

A PLAY INTONE ACT 

4 

GEORGE KELLY 

Author of “The Torch-Bearers" 



CINCINNATI 

STEWART KIDD COMPANY 
PUBLISHERS 

L a \ Cl 


COPYRIGHT, 1916, BY 
George Kelly 


$sa.t 
+ 2.S fs 


/<??»& 

COPYRIGHT, 1922, 1923, BY 

STEWART KIDD COMPANY 



All rights reserved 


This play is fully protected by copyright in the United States, 
Great Britain and Colonies, and countries of the Berne Conven¬ 
tion. Application for permission to produce FINDKKb-Kh.h.i'iiKS 
must be made to the author, in care of the publishers, 
Stewart Kidd Company, Cincinnati, Ohio. 



©C1A7G5830 


Printed in the United States of America 
The Caxton Press 


Finders-Keepers was presented at the Palace Theatre, 
New York City, on Monday, October 23, 1916, 
with the following cast: 


Eugene Aldrid 
Mrs. Aldrid, his wife 
Mrs. Hampton, a neighbour 


Mr. George Kelly 
Miss Anne Cleveland 
Miss Nora O’Conner 


NOTE.—The form of the present manuscript is exactly that in 
which this play was presented continuously for a period of three years 
in the principal Keith and Orpheum Theatres of The United States of 
America and The Dominion of Canada .— Author. 


CHARACTERS 


Eugene Aldrid 
Mrs. Aldrid, his wife 
Mrs. Hampton, a neighbour 


The action of the play takes place in the living-room of Eugene 
Aldrid’s home, which is located in an outlying suburb of the City 
of Philadelphia, Pennsylvania. The time is about five o’clock of 
a late September afternoon. All curtains are of quiet cretonne, 
and there are sheaves of autumn-leaves about. The garden, 
through the window at the back, is bright with scarlet sage. 


FINDERS-KEEPERS 


SCENE 

After a second's stillness y a door closes out at the 
right y and immediately Mrs. Aldrid enters 
through the archway y carrying several parcels y 
which she hastens to deposit on the center-table; 
then she straightens up and draws a deep breath. 
She is a trim blonde y in her late twenties y wearing 
a tailored coat-suit of fawn-colored serge, a toque 
of champagne silk, and a waist of very pale pink 
silk. Her slippers and stockings are of the lighter 
shades of brown, and she wears a quite long string 
of freakish black-and-yellow beads. Before she has 
had time to take the second breath y the bronze clock 
on the mantelpiece y at the left y strikes five. She 
glances at it. 

MRS. ALDRID 

Heavens! five o'clock! 

{She hurriedly removes her coat and hat y lays them 
on the sofa in front of the mantelpiece y and y with 
a glance at herself in the mirror over the mantel¬ 
piece, vanishes through the door at the left. 

Then there is a slight pause; and Eugene Aldrid 
enters through the archway from the right y carrying 
a roll of blue-prints in one hand y and the evening 
paper in the other. He is tall and thin y very in¬ 
telligent-looking man of perhaps thirty-^three, wear¬ 
ing a dark-blue y double-breasted business suit y 
dark shoes, and a dark tie. He sets the roll of 

7 


FINDERS-KEEPERS 


blue-prints down on the center-table , and then 
Mrs. Aldrid speaks to him from the room out at 
the left.) 

MRS. ALDRID 

Is that you, Gene? 

aldrid (looking toward the left , and then starting 
over towards his desk at the right) 

Yes. 

MRS. ALDRID 

You must have been right behind me. 
aldrid (laying the newspaper on his desk) 

Did you just get in? 

mrs. aldrid (coming into the room from the left , 
adjusting a bungalow apron) 

This minute,—Eve been in town shopping; I 
had no idea it was so late. 
aldrid (picking up a telegram from his desk , and 
opening it) 

It’s after five. 

MRS. ALDRID 

I know it is; and there isn't a thing ready; you'll 
have to wait a while for your dinner. 
aldrid (with an exaggerated sigh of resignation) 
Ah—ho! {He reads the telegram.) 

MRS. ALDRID 

Did you come out on the four-fifty-three? 
aldrid {without looking up) 

Yes; you weren't on it, were you? 

MRS. ALDIRD 

No, I'd intended coming out on the train, but— 
something happened that made me change my 
mind. 


8 




FINDERS-KEEPERS 


aldrid (looking straight ahead, thinking; and tap¬ 
ping the telegram, which he has finished reading, 
against his hand) 

Spaulding. ( Turning suddenly to Mrs. Aldrid.) 
What? Why—what happened? 
mrs. aldrid (assuming an air of great confidence) 
Wait till I tell you! ( She steps to the back of the 
room and looks keenly out into the hallway, to as¬ 
sure herself that no one is within hearing—then 
comes down to the left of her husband, who watches 
her curiously .) You know, I went into town this 
afternoon to get some Georgette Crepe for that 
new blouse of mine. 

ALDRID 

Yes. 

MRS. ALDRID 

Well,—as I went into the Market Street en¬ 
trance of Blum’s—you know, there’s a glove- 
counter right inside the Market Street door. 
{Aldrid nods.) Well, I went over to ask the 
saleslady where I could get the Crepe; and, as 
I leaned over to ask her, I stepped on some¬ 
thing: it felt like a bracelet or something—rather 
soft—and yet it was metallic. 

ALDRID 

Yes. 

MRS. ALDRID 

Well, I didn’t pay any attention to it at first,— 
I thought it might be a joke or something,— 
you know, they’re always doing that sort of 
thing in those Department Stores. 

ALDRID 

Yes, I know. 


9 




FINDERS-KEEPERS 


MRS. ALDRID 

But, as I started away from the counter, I just 
glanced down at the floor; and, what do you 
suppose it was? 

ALDRID 

What? 

MRS. ALDRID 

A purse—one of those little gold, mesh purses. 

ALDRID 

Anything in it? 

MRS. ALDRID 

Well now, wait till I tell you. I didn't open it 
right away; I was afraid someone might be 
looking; so I waited till I got up to the writing- 
room before I opened it: and, what do you sup¬ 
pose was in it? 

ALDRID 

What? 

MRS. ALDRID 

Four—hundred—dollars. 

aldrid {after a slight pause') 

Four hundred dollars? 

MRS. ALDRID 

Hum—hum. 

aldrid {incredulously) 

Where is it? 

MRS. ALDIRD 

In my pocketbook. 

ALDRID 

Well, are you sure it's real money? 

io 




FINDERS-KEEPERS 


MRS. ALDRID 

Of course it is; I’ll show it to you in a minute. 
You know, I could scarcely believe my eyes at 
first; because, you know, Eve never found any¬ 
thing in all my life; and then to suddenly pick 
up eight fifty-dollar bills. Positively, Gene, I 
don't know how I ever got home. 

ALDRID 

Were they all fifties? 

MRS. ALDRID 

Hum-hum; and brand-new ones at that; they 
look as though they'd just been taken out of a 
bank. 

aldrid (turning suddenly and leaning on the chair 
in front of his desk , then looking at her) 

Can you imagine losing that! 

^ MRS. ALDRID 

Losing it? Can you imagine finding it? I 
thought I was seeing things. ( She starts towards 
the door at the left.) 

ALDRID 

Did you say anything about it? 

mrs. aldrid ( stopping , and turning to him) 

How do you mean? 

ALDRID 

At the “Lost and Found"? 

MRS. ALDRID 

No, of course I didn't; what do you think 
I am? 

ALDRID 

You might have gotten in touch with the owner. 

II 




FINDERS-KEEPERS 


mrs. aldrid {smiling indulgently) 

Positively, Gene, you talk like a boy from the 
country. 

ALDRID 

Why so? 

mrs. aldrid {with a touch of impatience , and com¬ 
ing to the left of the center-tahle) 

Because you do! Don’t you know that if I were 
to turn that amount of money into a “Lost and 
Found” desk, I’d stand just about as much 
chance of ever seeing it again as I would of see¬ 
ing the North Pole? 

ALDRID 

Well, you wouldn’t expect ever to see it again 
if it were returned to the owner? 

MRS. ALDRID 

And, how would I know that it had been re¬ 
turned to the owner? 




ALDRID 


Oh, everybody isn’t dishonest! {He glances 
^through the telegram again.) 

MRS. ALDRID 

Well, you let people get their hands on four 
hundred dollars—you’ll find out how many of 
them are honest! Turn that amount of money 
over to one of those “Lost and Found” clerks— 
he’d soon find an owner for it, believe me! {She 
starts for the door at the left.) 
aldrid {crushing the telegram in his hand) 

What are you going to do with it? 

{She stops at the.door and looks back at him . He 


J2 



FINDERS-KEEPERS 


gracefully tosses the telegram overhand into the 
waste-paper basket below his desk.) 

MRS. ALDRID 

Em going to keep it! 

ALDRID 

Ho! 

mrs. aldrid (surprised that he should ask such a 
question) 

What do you suppose I’m going to do with it— 
throw it away? It’s as good in my pocket as it 
is in anybody’s else ! {He turns and looks at her 
in a way that disconcerts her slightly , but, as he 
withdraws his eyes in turning to his desk , she re¬ 
gains herself ’, and comes a step or two farther into 
the room.) I can get awnings for this whole 
house for that—and a Victrola, too! 
aldrid {coming over to the center-table for his blue¬ 
prints , after looking for them on his desk) 

You’d better not count your chickens before 
they’re hatched. 

mrs. aldrid {after looking at him for a second) 
What do you mean? 

aldrid {picking up the roll of blue-prints from the 
table , and speaking rather abstractedly) 

Why, there’ll very likely be an ad for it in one 
of the morning papers. 

MRS. ALDRID 

Well, what if there is? 
aldrid {looking at the blue-prints) 

Nothing, only you’d simply have to return it 
that’s all. 


13 





FINDERS-KEEPERS 


mrs. aldrid (after thinking for a second , and with 
an expression of sullen calculation) 

I don't see why I should. 

{He raises his eyes from the blue-prints and looks 
at her quizzically .) 

ALDRID 

You don't see why you should return lost prop¬ 
erty to the person who lost it ? 

MRS. ALDRID 

That depends. 
aldrid {in a level tone) 

Upon what? 

mrs. aldrid {looking straight ahead) 

Whether or not I was sure he’d lost it. 

ALDRID 

Couldn't you make sure? 

mrs. aldird {after turning and looking at him) 
How? 

ALDRID 

Identification. 

MRS. ALDRID 

Not in this case. 

ALDRID 

Why not? 

MRS. ALDRID 

Because there isn't a solitary thing about it. 
Gene, by which it could possibly be identified: 
not a card or a paper of any kind! 

ALDRID 

How about the purse? 

14 




FINDERS-KEEPERS 


MRS. ALDRID 

There are a million exactly like it; a plain, gold, 
mesh bag. ( Indicating the desk at the right) 
I’ve had one in that top drawer there for the 
past year. 

ALDRID 

Couldn't the money be described? 

MRS. ALDRID 

That wouldn't be any identification. 

ALDRID 

Why not? 

MRS. ALDRID 

Why, because—money is simply money!—un¬ 
less it's marked; and this isn't, because I’ve ex¬ 
amined it very carefully. 

aldrid (resting one end of the roll of blue-prints on 
the table , and leaning his elbow on the other end) 
So you don't see any possible way by which 
this money could be returned to its owner? 

MRS. ALDRID 

Not unless I took his word for it; ( turning and 
looking at him) and, really, I don't see why I 
should do that. 
aldrid ( evenly) 

What are you trying to do, make yourself be¬ 
lieve it belongs to you? 
mrs. aldrid (turning her head away) 

I found it. 

ALDRID 

And somebody else lost it. 

MRS. ALDRID 

I suppose so. 

15 



FINDERS-KEEPERS 



ALDRID 

Possibly some poor man or woman. 
mrs. aldrid (with a little toss of her head) 

Now, don’t get sentimental, please! 
aldrid (with a touch of impatience , and taking a 
couple of steps in front of the table towards her) 
.That isn’t sentiment at all! 
mrs. aldrid (turning to him sharply , and speaking 
incisively) 

No very poor man or woman has any eight 
fifty-dollar bills to lose. ( She turns away , and 
secures a hairpin at the back of her head: he looks 
at her steadily .) And no matter who lost it, it’ll 
be a very good lesson to him to be a little more 
careful in the future. 

ALDRID 

I see. Well, why should he pay you four hun¬ 
dred dollars for that lesson? 

MRS. ALDRID 

Nobody’s paying me any four hundred dollars. 

ALDRID 

You’ve often lost things yourself, haven’t you? 
mrs. aldrid (turning to him quickly) 

Yes, and I never got them back, either! 

ALDRID 

Whose fault was that? 
mrs. aldrid (turning away again) 

I don’t know whose fault it was. 

ALDRID 

Well, try and think. 

MRS. ALDRID 

Unless the people who found them weren’t hon- 

16 






FINDERS-KEEPERS 



est enough to return them. (The door out at the 
right closes.) Who’s that? (She starts for the 
archway at the right , tossing her apron onto the 
sofa as she goes.) 


aldrid (turning and crossing to his desk) 
Somebody at the door. 


mrs. aldrid (in a lowered tone) 

Don’t say anything about this. (She reaches the 
archway.) Oh, it’s you, Mrs. Hampton! 


(Aldrid half glances toward the archway , then 
picks up the evening paper and flips it open.) 

mrs. hampton (in the hallway) 

Yes, it’s me. 

mrs. aldrid (rather effusively) 

Come right in! (She extends her arm and hand , 
and leads Mrs. Hampton into the room.) 

(Mrs. Hampton is a dark woman , with a pale but 
lovely face , and a certain Madonna quality about 
her generally. She is of the same build as Mrs. Al¬ 
drid , and y apparently , of the same age. She wears 
a coat-suit of good black , a white-silk waist , with 
a little string of purple beads at her throaty and a 
medium-sized hat of very dark , purple-colored 
straw , trimmed with an ornament of itself. Her 
slippers and stockings are black) 


MRS. HAMPTON 

Good-evening. 

MRS. ALDRID 

Good-evening, dear, how are you? 

17 





FINDERS-KEEPERS 


ALDRID 

Good-evening, Mrs. Hampton. 

MRS. HAMPTON 

Oh, good-evening, Mr. Aldrid, I didn't see you. 
I hope you’ll both excuse me for coming in with¬ 
out ringing. 

aldrid (tossing his paper onto the desk) 

Don’t mention it. 

mrs. aldrid (.standing back of the center-table) 
Saved me the trouble of answering the door; 
it’s the girl’s day out. 

MRS. HAMPTON 

Well, I do hope I haven’t intruded. 

MRS. ALDRID 

You haven’t at all, dear, really; I’ve just gotten 
in from town. 

MRS. HAMPTON 

I’ve been in the city, too; I came out on the 
four-fifty-three. 

aldrid (placing a chair , which he has taken from 
above his desk , about midway between the center- 
table and the archway) 

Won’t you take a chair, Mrs. Hampton? 

MRS. HAMPTON 

No, thank you, Mr. Aldrid, I can’t stay a mo¬ 
ment. 

ALDRID 

I’m sorry. {He moves down to his desk again and 
picks up the paper.) 

MRS. ALDRID 

Why not? 


18 






FINDERS -KEEPERS 


mrs. hampton (obviously troubled about something ) 
oh, r m too upset. 

MRS. ALDRID 

Are you ill, dear? 

MRS. HAMPTON 

No,—but—I’d like to ask your advice about 
something. 

MRS. ALDRID 

Well, do sit down for a minute. 

(Mrs. Hampton hesitates , then sits. Mrs. Aldrid 
takes a chair from the back> and> placing it above 
the center-table and slightly to the left of it , sits also. 
Aldrid stands at the lower corner of his desk , read¬ 
ing the paper. There is a slight pause.) 

MRS. ALDRID 

What is it? 

mrs. hampton (.speaking directly to Mrs. Aldrid) 
I’ve lost some money. 

(Aldrid lifts his eyes over the top of his paper and 
looks straight out; Mrs. Aldrid looks straight into 
Mrs. Hampton's eyes for a second , then rises 
quietly , still holding her eyes , and moves to the 
center-table.) 

MRS. ALDRID 

Much? 

MRS. HAMPTON 

Quite a bit, yes. 

aldrid (without turning) 

Where did you lose it, Mrs. Hampton? 

*9 





FINDERS- KEEPERS 


mrs. hampton (turning to him) 

I haven’t an idea; (Mrs. Aldrid has been looking 
intently at her , but , at this , she shifts her eyes to 
Aldrid , iwVA * shade of relief ) but I think it was 
in town. 

(Aldrid turns and glances at his wife , but she 
shifts her eyes back again to Mrs. Hampton.) 

ALDRID 

How much was it? 

MRS. HAMPTON 

Why — 

MRS. ALDRID (quickly) 

I suppose you don’t know the exact amount, do 
you, dear? 

mrs. hampton (turning to her) 

Four hundred dollars. (Aldrid looks at his wife , 
but she's looking blankly at Mrs. Hampton.) 
Isn’t that dreadful! Of course, I know it would 
only be an item to some people,—but, to me! 
I feel terrible about it! (She breaks down and 
cries.) 

(Aldrid turns and looks at her; then , tossing 
his paper onto the desk , and thrusting his hands 
into his trousers-pockets^ he turns and strolls 
towards the back of the room , looking significantly 
at his wife.) 

mrs. aldrid (advancing and placing her hands on 
Mrs. Hampton s arms) 

Now, don’t cry, Mrs. Hampton, it isn’t that 
bad. 


20 



FINDERS-KEEPERS 


MRS. HAMPTON 

Oh, I think it’s dreadful to lose all that money! 

MRS. ALDRID 

I know it is, dear; I don’t wonder you feel bad. 

MRS. HAMPTON 

Eight fifty-dollar bills! 

{Mrs. Aldrid is frozen into stillness. Aldrid steps 
forward eagerly from the archway , where he has 
been standing.) 

ALDRID 

Eight fifties? 

MRS. HAMPTON 

Yes. 

aldrid {straightening up , and looking at his wife 
with an ingenuous smile) 

Eight fifties. 

MRS. HAMPTON 

And brand-new ones, too! It’s awful! {She be¬ 
gins crying again.) 

aldrid {to his wife , voicelessly , and indicating Mrs. 
Hampton with a nod) 

Why don’t you tell her? 

{Mrs. Aldrid lifts her chin and looks at him icily; 
whereupon he indicates Mrs. Hampton again , 
with an austere point of his finger.) 

mrs. aldrid {choosing the better part of valor> and 
leaning over the back of Mrs. Hampton s chair) 
Come now, Mrs. Hampton, you may not have 
lost it at all! 


21 





FINDERS-KEEPERS 


{Aldrid, who has been watching his wife narrowly , 
breaks slowly , and goes to his desk , where he espies 
a large scribbled note fastened to the desk-light , to 
attract his attention. Detaching this , he sits on 
the lower corner of his desk and reads it.) 

mrs. hampton ( tearfully) 

Oh, but I have , Mrs. Aldrid! 

MRS. ALDRID 

I know, my dear, but, you know, sometimes we 
think we’ve lost a thing, and we find out later 
that we haven’t lost it at all. 

MRS. HAMPTON 

But, Eve looked everywhere, and it’s lost, I tell 
you! 

MRS. ALDRID 

But, you may find it again, honey. 

MRS. HAMPTON 

Oh, I don’t think so! 

MRS. ALDRID 

Or someone else may find it. 

MRS. HAMPTON 

But, that wouldn’t do me any good. 

MRS. ALDRID 

It would if the person who found it were honest. 

MRS. HAMPTON 

I’m afraid very few people are honest, if it cost 
them four hundred dollars. 

(,Aldrid finishes reading the note , and sits looking 
out , thinking.) 


22 






FINDERS-KEEPERS 


MRS. ALDRID 

Well now, it may be one of those very few who 
has found it. 

MRS. HAMPTON 

I don’t expect ever to get it again. 

ALDRID 

Nonsense, Mrs. Hampton! 

MRS. HAMPTON 

I don’t. 

ALDRID 

Nonsense! Now, you wait and see. 

(There is a pause: Mrs. Hampton touches her 
handkerchief to her eyes.) 

mrs. aldrid (looking away off) 

Of course, you’ll have to advertise. 

(There is a second before Aldrid grasps what she 
has said; then he turns his head sharply and looks 
at her; but she is still looking away off.) 

MRS. HAMPTON 

Yes, that’s what I wanted to see Mr. Aldrid 
about; (She turns to him) which would be the 
best paper for me to advertise in ? 

{He sits looking at his wife until she turns and 
meets his eyes: then he abstractedly extends his arm 
and hand in a gesture of interrogation , to which 
she responds by a sudden and taut pressing of 
her closed hand against her breast . He rises , to 
divert the attention of Mrs . Hampton , and, after 
leaning for a second upon the back of his desk- 
chairstarts slowly across the room in front of the 

2 3 



FINDERS-KEEPERS 


center-table. As he passes Mrs. Hampton , she 
rises also.) 

MRS. HAMPTON 

Now, don't let me worry you, Mr. Aldrid! 
aldrid ( abstractedly) 

No, no, it isn't that—I was just—wondering— 

mrs. hampton (turning to Mrs. Aldrid) 

If I'd thought it would bother you folks, I 
shouldn't have told you at all. 

MRS. ALDRID 

That's perfectly all right, dear. 

MRS. HAMPTON 

But I was so troubled when I got home, I simply 
couldn't stay in the house! I just had to come 
out and tell someone! And, my dear, I don't 
know how I'm ever going to tell Frank when he 
comes home tonight; because he said to me this 
morning, when I told him I was going to town— 
he said, “Can I trust you to deposit this money 
for me?" And I said, “What do you think I am, 
a thief?" “Well," he said, “you're always 
losing things!" “Well," I said, “there's no 
danger of my losing four hundred dollars." 
“Well," he said, “I hope not, or we’ll get a 
guardian for you!" ( Starting to cry again.) 
And then I go straight into the city and lose it! 
{She cries a little , Mrs. Aldrid stands watching 
her; and Aldrid , who is leaning on his elbow on 
the mantelpiece , over at the left, watches Mrs. Al¬ 
drid l) And, mind you, to make sure that noth¬ 
ing would happen to it, I didn't even put it with 
my other money! 

24 



FINDERS-KEEPERS 


mrs. aldrid {eagerly , but without moving) 

Where did you put it? 

MRS. HAMPTON 

In one of those little, gold, mesh purses. 

{Aldrid accidentally tears the note-paper which he 
still has in his hand.) 

ALDRID 

Mrs. Hampton! 

MRS. HAMPTON 

Yes? 

ALDRID 

Where did you first miss this money? 

MRS. HAMPTON 

When I was going up the steps into the bank. 

ALDRID 

Which bank? 

MRS. HAMPTON 

The Franklin National. 

MRS. ALDRID 

Where's that? 

ALDRID 

Broad and Chestnut. Where had you been be¬ 
fore that? 

MRS. HAMPTON 

Why, when I came out of the station,—after 
I got off the train,— 

ALDRID 

Yes? 

MRS. HAMPTON 

I went over to Wanamaker's—to get some 
gloves. 


2 5 





FINDERS-KEEPERS 


(.Aldrid looks at her keenly.) 

MRS. ALDRID 

Wanamaker’s? 

mrs. hampton (turning to her) 

Yes. {Mrs. Aldrid gives a significant look at 
Aldrid, but he is looking at Mrs. Hampton.) 
But they didn’t have my size in what I wanted 
at Wanamaker’s, so I crossed over to Blum’s. 

aldrid {quietly) 

Blum’s glove-counter? 

MRS. HAMPTON 

Yes. 

{Aldrid glances at his wife, but she is cough¬ 
ing into her handkerchief. He moves rather 
thoughtfully to the left of the center-table , and, 
picking up a book, stands it on its end on the 
table and leans upon it. Mrs. Hampton is stand¬ 
ing on the opposite side of the table, and Mrs. Al¬ 
drid has moved quietly down to a point in front of 
Aldrid*s desk.) 

ALDRID 

You hadn’t missed this money up to that time? 

MRS. HAMPTON 

No, and I’m quite sure I had it up to that time; 
because I hadn’t opened my pocketbook from 
the time I left the house; and the monev was in 
the big pocketbook. 

ALDRID 

I see; and you went directly from there to the 
bank? 


26 




FINDERS-KEEPERS 



MRS. HAMPTON 

Yes, directly. 

ALDRID 

Then you think it was somewhere between 
Blum's glove-counter and the bank steps that 
you lost it? 

MRS. HAMPTON 

It must have been: I imagine I must have 
pulled it out without knowing it, when I was 
paying for the gloves at Blum's. 

ALDRID 

Very likely. 

MRS. HAMPTON 

Or else, possibly, someone opened my pocket- 
book and took out the little purse ( turning to 
Mrs. Aldrid) when I wasn't looking. ( She be¬ 
gins to cry again , as she turns back to Mr. Aldrid .) 
You know they do that, Mr. Aldrid. 
aldrid ( abstractedly ) 

Yes, I know they do. 

mrs. aldrid (.standing at the right , quietly toying 
with her beads , and looking straight ahead , with a 
calculating expression) 

There wasn't a card or a paper of any kind in 
the purse, was there? 
mrs. hampton (turning to her) 

No, there wasn't a thing in it but the money. 

MRS. ALDRID 

That's too bad. {Aldrid watches her narrowly.) 
No initials on it? 

MRS. HAMPTON 

No, I've always been going to have my initials 

27 




FINDERS-KEEPERS 


put on it, but,—Oh, I don’t know—I never 
seemed to get round to it. 

MRS. ALDRID 

That makes it bad. 

mrs. hampton (with the threat of a few more tears ) 
Dear me, I wish I had, now. 
mrs. aldrid (turning to her suddenly , with a kind of 
forced sincerity) 

Yes, because if someone find it, and answer 
your advertisement, he’ll naturally expect you 
to be able to identify it—definitely; that is, be¬ 
fore you could reasonably expect him to return 
it to you, I mean. 

MRS. HAMPTON 

Yes, I suppose he would; but, then, I could de¬ 
scribe the purse and the money. 
mrs. aldrid {with a tolerant smile ) 

I know, my dear; but there may be a million 
purses exactly like it— 

MRS. HAMPTON 

That’s true, too. 

MRS. ALDRID 

And, as far as the money is concerned, why,— 
money is simply money; unless it’s marked; 
and this isn’t, {checking herself ) as you say— 

MRS. HAMPTON 

No, it isn’t. 

MRS. ALDRID 

So that, really, a person would be more or less 
obliged to take your word for it, wouldn’t he? 

MRS. HAMPTON 

I’m afraid he would. 

28 




FINDERS-KEEPERS 


MRS. ALDRID 

And that’s rather a lot for us to expect of people, 
isn’t it, dear? 

MRS. HAMPTON 

Too much, I’m afraid. 

MRS. ALDRID 

Especially, when there’s four hundred dollars 
in the bargain. (She gives a little mirthless , self- 
conscious laugh , and settles the lace on Mrs. 
Hampton s lapelle. Aldrid , who has been watch¬ 
ing her steadily , turns his head away slowly , and 
his eyes wander about the floor.) 

mrs. hampton (turning to the chair from which 
she arose) 

You’re right, it is rather a poor prospect. ( She 
sits down.) 

MRS. ALDRID 

Oh, well— 

MRS. HAMPTON 

Unless someone who is really honest find it. 

mrs. aldrid (looking curiously at one of the beads in 
her necklace) 

Of course, the only thing you can do is to adver¬ 
tise. 

mrs. hampton ( rising) 

Yes, I must, right away. (. Moving to the right 
of the center-table .) Which paper do you think 
it would be best for me to advertise in, Mr. Al¬ 
drid? (He doesn't hear herf) Mr. Aldrid? 

aldrid (turning to her suddenly) 

I beg your pardon, Mrs. Hampton, what did— 

29 




FINDERS-KEEPERS 


MRS. ALDRID 

She wants to know which paper you think it 
would be best for her to advertise in ? 

aldrid (directly to his wife) 

None of them —(to Mrs. Hampton , with a 
change of tone) until she hear from me. 

mrs. aldrid (< quickly , and laying her hands on Mrs. 
Hampton's shoulder and arm) 

He means, he’ll look up the circulations later, 
dear. 

(Aldrid looks at her for a rather long pause , but 
she avoids his eyes; then , as Mrs. Hampton turns 
and looks at him , he speaks.) 

ALDRID 

I’ll telephone you after dinner, Mrs. Hampton. 
(He starts towards the back of the room.) 

MRS. HAMPTON 

Well, that’s very charming of you, Mr. Aldrid. 

ALDRID 

Don’t mention it. (He passes out through the 
window into the garden; then stops abruptly , 
makes a taut , general movement of desperate ir¬ 
resolution, turns , and steps back in through the 
window again; where , gripping the draperies in 
his hands , he stands watching his wife with an 
expression of stony suspicion .) 

mrs. hampton (to Mrs. Aldrid) 

And I really feel that I owe you both a genuine 
apology for bothering you with my troubles. 
(Startingfor the archway at the right.) 

3 ° 




FINDERS-KEEPERS 


mrs. aldrid {turnings and following her) 

That’s what neighbors are for, dear. 

MRS. HAMPTON 

Good-bye, Mr. Aldrid. 

aldrid (coming a step or two out of the window- 
alcove) 

Good-bye, Mrs. Hampton. 

MRS. HAMPTON 

I’ll be waiting to hear from you. 

ALDRID 

Right away, I’ll call you. 
mrs. hampton (turning at the archway) 

And, be sure and ask for me , when you tele¬ 
phone, won’t you? 

ALDRID 

Yes, I shall. 

MRS. HAMPTON 

Thank you very much. 

ALDRID 

You’re very welcome. 

mrs. hampton (i going out into the hallway at the 
right,followed by Mrs. Aldrid , who has been stand¬ 
ing at the back of the room , just to the left of the 
archway) 

I don’t want Frank to know anything about this, 
if possible. 

MRS. aldrid 

No, there’s no need of annoying him. 

MRS. HAMPTON 

I suppose he’ll have to be told soon enough. 

(Aldrid, standing at the back of the room , watches 

3 1 




FINDERS- KEEPERS 


his wife out into the hallway; then he turns 
sharply, and comes forward several steps, in 
a panic of indecision. Suddenly the impulse 
to recall Mrs. Hampton whirls him round into a 
literal spring in the direction of the hallway, but, 
at this point, the definite closing of the front door 
arrests him, and he stands taut and still for a sec¬ 
ond, gripping the back of the chair which Mrs. 
Aldrid occupied earlier in the action of the play. 
Then he shifts his position; and, gripping the 
chair with the other hand, leans upon it, and waits 
for his wife to come back from the door. Presently 
she darts into view between the archway portilres, 
and stands regarding him with an expression of 
amused calculation. But he doesn't see her: so, 
after a glance over her shoulder into the hallway, 
she speaks.) 

MRS. ALDRID 

Did you see that? 

aldrid (in a repressed, ominous tone) 

What? 

mrs. aldrid (with a nod toward the hallway) 

She must have heard. 

ALDRID 

Have you told anybody? 

mrs. aldrid (coming a little farther into the room) 
No! 

ALDRID 

I suppose the walls have ears? 

Mrs. Aldrid 
Not necessarily. 


32 




FINDERS-KEEPERS 


aldrid (turning to her sharply and searching her 
with a look) 

Then, how would she know? 

MRS. ALDRID 

She must have heard me—there in the hallway! 

aldrid ( mercilessly ) 

When? 

mrs. aldrid {becoming slightly disconcerted under 
his gaze) 

A few minutes ago—when I was telling you Fd 
found a purse. 

aldrid {after a fractional pause , and tilting his 
head a bit on one side , to look at her more quizzic¬ 
ally) 

How would she overhear you—she wasn’t in the 
hallway? 

MRS. ALDRID 

Wasn't she! 

aldrid {whipping the chair upon which he is lean¬ 
ing out of the way y and coming forward in a 
trembling rage) 

You know very well she wasn’t! {She crosses 
the back of the room towards the left y watching 
him. He stops in the middle of the room y and for¬ 
ward , and continues speaking , but without looking 
at her.) What are you trying to do, kid your¬ 
self, or me! {He goes towards his desk at the 
right , and she comes forward at the left.) 

mrs. aldrid {picking up her apron from the sofa) 
I suppose you didn’t take notice of the fact that 
she came in without ringing, did you? 

33 



FINDERS-KEEPERS 


ALDRID 

Well, what of it, what of it, what of it! 

mrs. aldrid (taking his tone) 

Nothing! Only just think it over while I’m get¬ 
ting your dinner! (She starts towards the door 
at the left) 

aldrid (leaning on the back of his desk-chair) 

You needn’t get me any dinner. 

{She stops and looks back at him.) 

MRS. ALDRID 

Why not? 

ALDRID 

Because I don’t want any. 

MRS. ALDRID 

Don’t you want anything at all? 
aldrid {turning sharply , and looking at her) 

Yes! {Starting across towards the back of the 
center-table , and indicating the departed Mrs. 
Hampton with a wide gestured) I want to know 
whether or not you intend to return that wo¬ 
man’s property? 

MRS. ALDRID 

Her property? 

aldrid {enraged, and lifting his voice) 

You heard me! 

mrs. aldrid {lifting her hand to silence him) 

Sh—sh! 

aldrid {disregarding her gesture) 

I want an answer, yes or no! 

34 




FINDERS-KEEPERS 


mrs. aldrid (flinging her apron back onto the sofa , 
and stepping up very close to him) 

What's the matter with you, Gene, are you 
blind? 

aldrid ( stonily ) 

Not now; but I'm beginning to think I have 
been —terribly blind. 

mrs. aldrid {fuming away from him , and taking a 
couple of steps to the left) 

Well, I’m glad something has happened to open 
your eyes. (She feigns to be occupied with her 
right cuff.) 

{Aldrid crosses to her rigidly , and, seizing her by 
the arm , turns her sharply to him and looks know¬ 
ingly into her eyes.) 

aldrid {after a pause) 

If my eyes are not opened after this, it isn't 
your fault. {She attempts to move , but he pins 
her to his side with another quick grip. She shows 
a trace of fright.) I want to know whether or not 
you intend to return that money? 
mrs. aldrid {with a mingling of fright and con¬ 
ciliation) 

When I find the owner, yes! 
aldrid {breaking from her in a wrath , and going 
towards the back of the room) 

Ah! more hedging! 

Speaking together — 

aldrid {turning at the back of the room , and coming 
forward again) 

God! how I hate that attitude! 

35 




FINDERS-KEEPERS 


mrs. aldrid (holding her right upper arm as though 
he had hurt her) 

I’d like to hand over four hundred dollars to 
every Tom, Dick, and Harry that says he lost 
it. You must think I’m a— 
aldrid (whirling fiercely upon her , as he passes in 
front of the center-table) 

Please! (She is instantly silenced.) Don’t drive 
me out of the house! {He goes blindly up 
towards the hallway.) 

mrs. aldrid {regaining herself ’, and half crying) 
What do you think I am—some school-girl! 
aldrid {stopping abruptly just inside the archway) 
No! {Turning to her) I think you’re a thief! 
mrs. aldrid {freezing with resentment) 

Do you, really? 

ALDRID 

More contemptible than the out-and-outer, for 
he at least doesn’t try to justify himself. 

MRS. ALDRID 

And I’m not trying to justify myself, either. 

ALDRID 

You couldn’t. There is no justification for 
your attitude. 

MRS. ALDRID 

There doesn’t need to be any. 

ALDRID 

And there isn’t—among honest people! 
mrs. aldrid {sarcastically) 

So you don’t consider me honest? 
aldrid {moving a little nearer to her) 

You’re like a million other people in this world, 

36 



FINDERS-KEEPERS 


honest, as long as you don’t lose anything by it; 
but as soon as you see where the principle of 
honesty is going to cost you a dollar, you begin 
to hedge !—just as you’ve been doing in this. 

MRS. ALDRID 

I’ve been doing nothing of the kind! 
aldrid ( bitterly) 

You’ve been tinkering with honesty. 

mrs. aldrid (advancing a step or two towards him) 
I never took a cent in my life that didn’t belong 
to me! 

ALDRID 

There are rafts of people can say that. But 
they wouldn’t walk back a block to return ten 
cents overchange that some clerk has given 
them. ( She sniffs contemptuously , and turns 
away .) Pat themselves on the back, as I’ve 
heard you do,—when the conductor on the 
trolley doesn’t ask them for their carfare! 
{He swings down towards his desk.) 

MRS. ALDRID 

The trolley companies have enough! 

ALDRID 

There you are! {Turning to her.) That’s the 
psychology of a thief! {He goes up to the 
French window at the hack of the room , and y after 
glancing out to see that no one has heard them , 
closes it.) 

mrs. aldrid {ready to cry with madness) 

Have I ever stolen anything from you? {Evi¬ 
dently , he doesn't hear her , and starts back down 

37 




FINDERS-KEEPERS 


towards the right of the center-table. She advances 
a bit towards him.) Have I? 
aldrid (stopping on a line with her> and looking at 
her witheringly) 

Now , don’t start that, please. {He continues 
on down to the right of the center-table , and stands , 
leaning upon it.) 

mrs. aldrid {stepping to the left of the center-table , 
and striking her fist upon it) 

Answer me! Have I ever stolen anything from 
you? 

{There is a slight pause; then he sits down on 
the edge of the table—very weariedly—as though 
weighted with the conviction of having married 
an inferior woman.) 

aldrid {with a complete change of tone) 

Listen to me! {He takes his left hand in his 
right , and looks at the back of it , with a kind of 
vacant curiosity; then he drops his clasped hands 
onto his leg and looks up and out and away off.) 
A man’s home, in the majority of cases, is 
founded upon his belief in the honesty of his 
wife; you’ve stolen that from me tonight. 

MRS. ALDRID 

What? 

ALDRID 

That belief —that I had in you, as an honest 
woman. {With an impatient toss of her head , 
she crosses over in front of the table to the desk , and 
straightens the desk-pad; then stands with her back 
to him , with one hand resting on the back of the 
38 




FINDERS-KEEPERS 


desk-chair , and the other on her hip.) You 
know, there's a line in a book somewhere that 
says: 

“What a little thing makes the world go wrong! 

A word too short, or a smile too long: 

Then comes the mist, and the blinding rain, 

And life is never the same again." 

Your— {he feels for the word) attitude—in this 
affair tonight is that mist and blinding rain: 
it has shown me that my wife is not strictly hon¬ 
est—for the sake of being so; and honesty is 
such a passion with me that, as far as you are 
concerned, life will never be the same again; 
because I could never—absolutely trust you 
again. {He rises slowly , and moves around in 
front of the table.) Never. {He continues to the 
window at the back , then stops and turns to her.) 
I'm very sorry we found that out— {He steps 
into the window-alcove and quietly pushes the 
window open; then> after glancing out , he leans 
against the side of the window-alcove and says y 
half to himself and half to her —) I'm sorrier— 
than if I had lost a million dollars. 

{There is a rather long stillness; then Mrs. Aldrid , 
who has been binding it difficult to encompass the 
situation , abandons the effort and crosses the room 
towards the door at the left.) 

mrs. aldrid {as she turns and starts across the room) 
Well, Gene, if you hadn't been so strictly honest 
all your life, we might have had a million dollars 
now. 


39 




FINDERS-KEEPERS 


aldrid (picking her up) 

Very true; but we’d have gotten it the way you 
are getting that four hundred. 
mrs . aldrid (about to leave the room , and with a re¬ 
turn to her former manner) 

And the way I’m going to hold on to it, inci¬ 
dentally. {She starts to go out at the left.) 
aldrid {in a sudden rage , and seizing the telephone 
at his right) 

All right! Listen to this! Wait! {She stops , 
and turns to him.) I want you to hear this! 
{He works the telephone hook violently.) Give 
me Wayne one—three seven—D.—Wayne. 
Please? {She recognizes the number , evidently , 
and takes a couple of frantic steps towards him; 
but he meets her startled expression with a look of 
quiet defiance , so she stops dead and turns away , 
waiting.) Hello! Hello? {He lowers the tele¬ 
phone again , and there is another pause: then> 
suddenly , he is answered.) Hello!—Mrs. Hamp¬ 
ton?—Is this Mrs. Hampton?—Mr. Aldrid. 
{Mrs. Aldrid turns^ and their eyes meet.) I have 
some very good news for you. 

mrs . aldrid {advancing in a panic) 

If you tell her I found that money, I’ll deny it! 

aldrid {into the telephone , and bitterly) 

Your money has been found! 

mrs . aldrid {raising her arms and hands helplessly , 
and turning to the center-table) 

Oh, you silly fool! 
aldrid {into the telephone) 

I found it. 


4 ° 




FINDERS-KEEPERS 


mrs. aldrid {looking frantically among her parcels 
on the center-table) 

Well, if you did, you'll pay it! 
aldrid {into the telephone , and half smiling) 

I wanted to give you a lesson. 

MRS. ADLRID 

For I’m very sure I won't! {Glancing under 
the center-table .) Where's my pocketbook? 
{She hurries over to the desk and looks.) 

aldrid {into the telophone) 

I know, but I imagine you must be rather care¬ 
less to drop that much money. 
mrs. aldrid {hurrying back to the table , and be¬ 
coming more excited every minute) 

Where's my pocketbook? 

aldrid {into the telephone) 

All right, Mrs. Hampton, come ahead—it's here 
for you. {He hangs up> and sets down the tele¬ 
phoned) 

mrs. aldrid {turning to him excitedly) 

Listen! Have you seen anything of my pocket- 
book? 

ALDRID 

No. 

MRS. ALDRID {looking among her parcels again y 
breathlessly) 

I can't find it! 

ALDRID 

Where'd you have it? 

MRS. ALDRID 

Right here among these parcels! 

4i 




FINDERS-KEEPERS 


aldrid ( disinterestedly) 

I haven’t seen anything of it. (He comes down 
to his desk.) 

MRS. ALDRID 

My God! I wonder if I’ve lost that! (She looks 
again for a second , then stops dead and taps the 
table as though she has suddenly come to a con¬ 
clusion .) I wonder if she could have taken 
that— 

aldrid (turning to her) 

Who? 

MRS. ALDRID 

Mrs. Hampton. 

ALDRID 

I’ll ask her that—when she comes over. 

MRS. ALDRID 

Don’t you dare! 
aldrid (bitterly) 

Hum-hum. (He shakes his head from side to 
side.) 

MRS. ALDRID 

Well, it’s gone! 

ALDRID 

Maybe you left it in the trolley-car. 

MRS. ALDRID 

Oh, wouldn’t that be awful!—And that four 
hundred dollars is in it! (Aldrid gives a shorty 
dry sound of amusement , and , thrusting his hands 
into his trousers-pockets^ starts across the room 
towards the left.) I don’t see anything to laugh 
at! (He throws his head back and makes another 
little sound of intensely derisive laughter .) And 
42 




FINDERS-KEEPERS 


twenty-six dollars of my own! {He laughs 
again.) God! what’s the matter with me! 
aldrid {turning in front of the sofa) 

Maybe you dropped it out there in the hallway. 

MRS. ALDRID 

Call up the Rapid Transit “Lost and Found/’ 
and see if a lady’s pocketbook has been turned 
in. I’ll look out here. {She vanishes into the 
hallway at the right. Aldrid stands still for a sec¬ 
ond , then 'picks up the telephoned) 
aldrid {into the telephone) 

Information, please. {To Mrs. Aldrid) Do you 
see anything of it ? 
mrs. aldrid {in the hallway) 

Not a sign! 

ALDRID 

Why don’t you light that light? {He stands 
looking into the hallway until a light is turned on: 
then into the telephone) Hello? Information? 
What is the number of the Rapid Transit “Lost 
and Found?” Yes. Kensington one three— 
hundred? Will you ask the operator to ring it, 
please? If you please? {He lowers the telephone , 
and Mrs. Aldrid appears at the entrance to the 
hallway , searching frantically. Aldrid laughs 
dryly.) 

mrs. aldrid {glancing up) 

Funny, isn’t it! {She disappears again into the 
hallway , and immediately there is the sound of a 
chair being knocked over , as though she had flung 
it aside in her anger. Aldrid looks sharply 
toward the hallway , then shakes his head slowly 
and conclusively.) 


43 




FINDERS-KEEPERS 


aldrid (shifting his attitude , and sighing rather 
wearily) 

Ha, ho-ho— [Into the telephone) Hello? Infor¬ 
mation? (He glances toward the hallway .) Oh, 
this is “Lost and Found?” Fd like to know 
whether or not a lady’s pocketbook has been 
turned in there this evening? 
mrs. aldrid (rushing in from the hallway) 

Oh, it isn’t out there! What do they say? 

(He silences her with a gesture; then , after a slight 
pause , speaks suddenly into the telephone again .) 

ALDRID 

This minute? 

MRS. ALDRID 

It has been turned in? 

aldrid (to her) 

Yes. 

mrs. aldrid (turning and sinking onto the chair at 
her hand) 

Oh, thank God! 

aldrid (into the telephone) 

No, my wife did. 

mrs. aldrid (turning to him) 

A regular, lady’s, black-leather pocketbook! 

aldrid (into the telephone) 

Well, can you wait a minute? Please? (To Mrs. 
Aldrid) They want to know whether or not you 
can identify this? 

mrs. aldrid (impatiently) 

Oh, certainly I can! It’s a regular, lady’s black- 

44 



FINDERS-KEEPERS 


leather pocketbook, with my initials E. A. on 
the outside! 

ALDRID 

Yes. 

mrs. aldrid (illustrating with her hands) 

There's a small, gold-mesh purse inside, with 
four hundred dollars in it; and, in the side 
pocket, there are twenty-six dollars. Then, 
there’s— 

aldrid {to Mrs. Aldrid) 

Wait a minute. {Into the telephone) Hello! 

MRS. ALDRID 

A gold, mesh purse, with— 
aldrid {to Mrs. Aldrid) 

Wait a minute. {Into the telephone) A lady’s 
black, leather pocketbook, with the initials, 
E. A., on the outside. There’s a gold—E. A. 
No, no, no, no! E!—Yes.—Well, that’s right. 
Why— {He looks at his wife.) 

MRS. ALDRID 

A gold, mesh purse— 
aldrid {into the telephone) 

A gold, mesh purse, with four hundred dollars 
in it; and in the side pocket there are twenty- 
six dollars—of her own. {Mrs. Aldrid looks at 
him suddenly.) 

MRS. ALDRID 

Five fives and a one. 

aldrid {into the telephone) 

In bills, yes. {He looks at her , and she nods con¬ 
firmation!) Five fives and a one. One minute. 
{To his wife) What else?—quick! 




FINDERS-KEEPERS 


mrs. aldrid ( becoming very nervous) 

Why, there’s a silver vanity case— 

ALDRID 

Yes. 

MRS. ALDRID 

And a gold bracelet—with the clasp broken— 
{He makes a movement of interruption , but she 
continues ) and a tax receipt, and a— 

Aldrid and Mrs. Aldrid , speaking together — 
aldrid {to Mrs. Aldrid) 

Wait a minute, now, till I get that! {Into the 
telephone) Hello? 

MRS. ALDRID 

Sample of Georgette Crepe, and a face veil, and 
a handkerchief, and two packages of hairpins, 
and— 

aldrid {to Mrs. Aldrid) 

I can’t remember all those! {She stops , and re¬ 
laxes; then he speaks into the telephone) Hello! 
There’s a silver vanity case and a bracelet— 

MRS. ALDRID 

Broken! 

aldrid {into the telephone) 

Broken!—A broken bracelet. {With a touch of 
annoyance) The bracelet is broken. Yes. 
And there’s a— {He stops gradually and listens 
attentively—his eyes wandering to his wife's.) 

I see. 

mrs. aldrid {rising slowly and apprehensively) 
What is it? 

4 6 




FINDERS-KEEPERS 


aldrid (silencing her with a deft gesture , and con¬ 
tinuing into the telephone) 

Why, yes, that is rather funny. 
mrs. aldrid ( impatiently) 

What does he say? 
aldrid (into the telephone ) 

How about tomorrow afternoon? No, no. I’ll 
call for it myself. Well, if you will, please? 
Tha—nk you, very much. Thanks. {He sets 
the telephone down,) 

MRS. ALDRID 

Is everything all right? 

ALDRID 

Yes. 

mrs. aldrid {sighing with relief ’, and leaning upon 
the center-table) 

Oh!—can you imagine if I’d lost that! 
aldrid {coming down thoughtfully towards his 
desk) 

Everything but the money. 
mrs. aldrid {turning and looking at him) 

What’d you say? 
aldrid {without meeting her eye) 

He says that, evidently, the person who found 
your pocketbook took all the money out of it 
before turning it in. 
mrs. aldrid {aghast) 

What! 

aldrid {indifferently , and turning to his desk) 
That’s what he says. 


47 




FINDERS-KEEPERS 


mrs. aldrid (morally and physically indignant) 
Can you imagine anybody being that con¬ 
temptible! 

aldrid (turning and going up to the archway ) 
Please, don’t make me laugh—I’m not in the 
mood. 

MRS. ALDRID 

You won’t laugh when you have to pay that 
woman four hundred dollars out of your own 
pocket! 

aldrid (turning to her sharply ) 

I’d have had to do that anyway!—There didn’t 
seem to be very much chance of getting it away 
from you! 

MRS. ALDRID 

Well, you’re not going to give her four hundred 
dollars of your own money? 

ALDRID 

"^That’ll do! And, when she comes here, don’t 
make it necessary for me to tell her who found 
her money. Now, be wise. (He looks out the 
hallway , starts slightly , then steps quickly towards 
his desk.) Where is that gold, mesh purse of 
yours ? 

MRS. ALDRID 

There in that drawer—what are you going to do ? 
aldrid (speaking directly to her in a level tone ) 

I’m going to give you a lesson in honesty. Where 
is it? (He opens the'middle drawer of his desk.) 

MRS. ALDRID 

Right where you’re looking: what do you want 
it for? 


48 





FINDERS-KEEPERS 


aldrid (whipping a little gold , mesh purse out of the 
drawer) 

Never mind! Is this it? 


MRS. ALDRID 


Yes; what are you going to do? 

m (He slams the drawer shut , and , simultaneously , 
there is a sharp ring at the front door. He lays 
his hand on Mrs. Aldrid"s arm , and they stand 
still for a second.) 


ALDRID 

There she is. (Then turning and urging Mrs. 
Aldrid across in front of the center-tahle towards 
the door at the left.) Go up to my money-box 
and get me eight fifty-dollar bills—the newest 
you can find; and, hurry! (He starts hack 
towards the archway.) 

mrs. aldrid (recovering herself) 

I’ll do nothing of the kind! 
aldrid (whirling upon her , and indicating the left 
door with an imperative gesture) 

Quick! Now, you’ve lost enough tonight, I 
think! 


mrs. aldrid (turns and goes to the left door , then 
stops again , defiantly) 

I will not! 



fALDRID 

r ery well, then; I shall be obliged to tell this 
woman the particulars. 

MRS. ALDRID (bitterly) 

Oh, I’ll get them! But I never knew, Gene, 
49 






FINDERS-KEEPERS 


that you were such a fool! (She starts to leave 
the room.) 

ALDRID 

Wait! (She stops and looks at him.) Wait a 
minute. {He starts across towzrds her , passing 
back of the center-table.) I’ll get them myself. 

MRS. ALDRID 

Why can’t / get them ? 

aldrid {looking at her steadily as he passes above 
her and out the door) 

Because I’d rather get them myself. 

9 {She stands very stilly realizing the implication , 
until the doorbell has rung three times; then with a 
rather slow , general gesture of sullenness and 
defeat, she moves up and across towards the arch¬ 
way to answer the door.) 


THE CURTAIN DESCENDS SLOWLY 



THREE MODERN 
JAPANESE PLAYS 

Translated by 

Yozctn T. I wasaki and Qlenn Hughes 

'""THESE short plays, while different one from the 

other, are the direct result of Western influences 
and are representative of the new drama movement 
in Japan, which is, not supplanting, but very decid¬ 
edly challenging the No, the Kabuki, and the Doll- 
play. 

The Razor, (5m. iw.) a drama in one act, by 
Kickizo Nackamura. was first published in Japan 
in 1914. Within one year it had been performed 
seventy-one times in the principal cities of Japan 
and Manchuria. The Madman on the Roof, (5m. 
2w.) a play in one act, by Kan Kikuchi, was pub¬ 
lished in 1919, and in 1920 it was produced at the 
Imperial Theatre, Tokyo. Kikuchi is considered 
one of the most clever and versatile writers in Japan 
and is in great demand among Japanese readers. 
Nari-kin, (5m. 2w.) a farce in one act and two 
scenes, by Yozan T. Iwasaki, was written in 1919 
and has been produced many times. Mr. Iwasaki 
was born in Japan, received his education there and 
in the United States, and for several years has lived 
in Seattle, where among other activities he has di¬ 
rected the work of play production for J iyu-geki-dan, 
a Japanese dramatic company devoted to the pres¬ 
entation in Japanese for Japanese audiences of the 
plays of such dramatists as Ibsen, Shaw, Tolstoi, 
Hauptmann, Strindberg, and the newer dramatists 
of Japan. 

i2mo. 104 pages. Decorated Boards. $1.50 
34 Turkey Morocco, $6.50 

STEWART KIDD PUBLISHERS 





Stewart Kidd Dramatic Anthologies 


Fifty Contemporary One-Act Plays 

Edited by 

FRANK SHAY and PIERRE LOVING 


T HIS volume contains FIFTY REPRESENTATIVE ONE-ACT PLAYS 
of the MODERN THEATER, chosen from the dramatic works of con¬ 
temporary writers all over the world and is the second volume in the 
Stewart Kidd Dramatic Anthologies, the first being European Theories of the 
Drama, by Barrett H. Clark, which has been so enthusiastically received. 

The’ editors have scrupulously sifted countless plays and have selected the 
best available in English. One-half the plays have never before been pub¬ 
lished in book form; thirty-one are no longer available in any other edition. 

The work satisfies a long-felt want for a handy collection of the choicest 
plays produced by the art theaters all over the world. It is a complete reper¬ 
tory for a little theater, a volume for the study of the modern drama, a rep¬ 
resentative collection of the world’s best short plays. 


CONTENTS 


AUSTRIA 

Schnitzler (Arthur)—Literature 
BELGIUM 

Maeterlinck (Maurice)—The Intruder 
BOLIVIA 

More (Federico)—Interlude 
DENMARK 

Wied (Gustave)—Autumn Fires 
FRANCE 

Ancey (George)—M. Lamblin 
Porto-Riche (Georges) — Francoise's Luck 
GERMANY 

Ettinger (Karl)—Altruism 
von Hofmannsthal (Hugo)—Madonna Dia- 
nora 

Wedekind (Frank)—The Tenor 
GREAT BRITAIN 
Bennett (Arnold)—A Good Woman 
Calderon (George)—The Little Stone House 
Cannan (Gilbert)—Mary’s Wedding 
Dowson (Ernest)—The Pierrot of the Min¬ 
ute 

Ellis (Mrs. Havelock)—The Subjection 
of Kezia 

Hankin (St. John)—The Constant Lover 
INDIA 

Mukerji (Dhan Gopal)—The Judgment of 
Indra 
IRELAND 

Gregory (Lady)—The Workhouse Ward 
HOLLAND 

Speenhoff (J. H.)—Louise 
HUNGARY 

Biro (Lajos)—The Grandmother 
ITALY 

Giocosa (Giuseppe)—The Rights of the Soul 
RUSSIA 

Andreyev (Leonid)—Love of One’s Neigh¬ 
bor 

Tchekoff (Anton)—The Boor 


SPAIN 

Benavente (Jacinto)—His Widow’s Hus¬ 
band 

Quintero (Serafin and Joaquin Alvarer-) 
—A Sunny Morning 
SWEDEN 

Strindberg (August)—The Creditor 
UNITED STATES 

Beach (Lewis)—Brothers 
Cowan (Sada)—In the Morgue 
Crocker (Bosworth)—The Baby Carriage 
Cronyn (George W.)—A Death in Fevei 
Flat 

Davies (Mary Carolyn)—The Slave with 
Two Faces 

Day (Frederick L.)—The Slump 
Flanner (Hildegard)—Mansions 
Glaspell (Susan)—Trifles 
Gerstenberg (Alice)—The Pot Boiler 
Helburn (Theresa)—Enter the Hero 
Hudson (Holland)—The Shepherd in the 
Distance , 

Kemp (Harry)—Boccaccio’s Untold Tal< 
Langner (Lawrence)—Another Way Out 
MacMillan (Mary)—The Shadowed Stai 
Millay (Edna St. Vincent)—AriadaCapt 
Moeller (Philip)—Helena’s Husband 
O’Neill (Eugene)—lie 
Stevens (Thomas Wood)—The Nurseq 
Maid of Heaven . 

Stevens (Wallace)—Three Travelers Watcl 
a Sunrise 

Tompkins (Frank G.)—Sham 
Walker (Stuart)—The Medicine Show 
Wellman (Rita)—For All Time 
Wilde (Percival)—The Finger of God 
YIDDISH 

Asch (Sholom)—Night 
Pinski (David)—Forgotten Souls 


Large 8vo, 585 pages. Net, $$.00 

Special India Paper Edition, Limp Cloth, $6.00; Limp Leather, $7-5° 





FIVE ONE-ACT 
COMEDIES 

By Lawrence Langner 

Introduction by St. John Ervine 

f "pHESE one-act comedies have unusual variety 
* and originality, and have been produced suc¬ 
cessfully by the Washington Square Players, the 
Provincetown Players, and other theatre groups 
throughout the country. Mr. Langner posesses that 
gift which is rarest in American playwrights—a 
keen sense of satire and a sure touch. His comedies, 
which read as well as they act, show a humorous 
understanding of human relations and institutions. 
Mr. Langner was one of the founders of the Wash¬ 
ington Square Players and the Theatre Guild, and 
is a pioneer in the new theatre movement in Amer¬ 
ica. As George Jean Nathan says: “This Langner 
will bear watching. He is a fellow of ideas and 
genuine humor.'* 

The plays are: Matinata (2 m. 1 w.) Another 
Way Out (2 m. 3 w.) The Family Exit (4 m. 3 w.) 
Pie (2 m. 2 w.) Licensed (1 m. 2 w.) RoscoeW. 
Brink in the New York Tribune: “Smart, finished 
and polished things they are.” Houston Post: “Re¬ 
freshing plays, streaked with humor and original¬ 
ity.” New York Evening Post: “Sure comedy 
touch, clever dialogue and actable scenes.” Qeorge 
Bernard Shaw, in a letter to the author: “The plays 
are very good : I read them all through with undi¬ 
minished appetite; and so did my wife.” 

Silk Cloth. 165 pages. Jimo. $2.00. 

K Turkey Morocco, $7 50. 

STEWART KIDD PUBLISHERS 





Stewart Kidd Dramatic Anthologies 

Twenty Contemporary One-Act plays 

AMERICAN 

Edited by Frank Shay 

TPHIS volume represents a careful and Intelligent selection of 
1 the best One-act Plays written by Americans and produced 
by the Little Theatres in America during the season of soil. 
They are representative of the best work of writers in this field 
and show the high level to which the art theatre hasraenln 

The editor has brought to his task a love of the theatre and 
a knowledge of what is best through long association with the 
leading producing groups. , t 4 ' . , 

The volume contains the repertoires of the leading Little 
Theatres, together with bibliographies of published plays and 
books on the theatre issued since January, 1910 , 

Aside from Its individual importance, the volume, together 
with Fifty Contemporary One-Act Plays, will make up the 
most important collection of short plays published. 

In the Book are - 

the following Plays by the following Authors 

Mirage_... .. George M. P. Baird 

Napoleon's Barber................ <•.-....- Arthur Gasser 

Goat Alley....Ernest Howard Culbertson 

Sweet and Twenty........... .Floyd Dell 

Tickless Time..........Susan Glaspell and George Cram Code 

The Hero of Santa Maria.... Kenneth Sawyer Goodman and 

BenHecht 

All Gummed Up.--......---Harry Wagstaff Gribble 

Thompson’s Luck....Harry Greenwood Grover 

Fata Deorum........ Carl W. Guske 

Pearl of Dawn..... .Holland Hudson 

Finders-Keepers ..George Kelly 

Solomon’s Song.... .Harry Kemp 

Matinata.........Lawrence Langnes 

The Conflict..Clarice Vallette McCauley 

Two Slatterns and a King...Edna St. Vincent Millay 

Thursday Evening...... .Christopher Morley 

The Dreamy Kid....................... .Eugene O’Neill 

Forbidden Fruit........................-George J. Smith 

Jezebel............. .-.v*v. v.V;.. V.Dorothy Stockbridge 

Sir David We&s a Crown.....Stuart Walker 

umo. Silk Cloth $ 3 7 / 

H Turkey Morocco $to.oo 

STEWART KIDD H 2 4* 5 7 O 















































A 



A <*, *7?v7» o* - ’’o a %■ vWfl' , 

■ .^ 4 ;*. ^ c^i£c.% " ,<r 

0 'A$MEV. ^ - A -.v^SBVl .A 




As 

\> V ****'«, c\ 

1 : W 

0 V *0, '•. * * A <v 

OA .*■'*- ^r\ Ay c o « O ^ ^ 

'D' * _s-S^'f\ «“ «P /• ’ 

^ ^ A WORLD LEADER IN COLLECTIONS PAESERVA I 

v^* q^ 111 Thomson Park Drive 

4 0 Cranberry Township, PA 16066 • 

<g> ^ (724)779-2111 



*° v. v 



^ ./<gM 

Deacidified using the Bookkeeper proc ■. 
Neutralizing agent: Magnesium Oxide 
Treatment Date: Sept. 2009 

( PreservationTechnologi 3 








at- 

\ A 

> V 


if _ . » 


0 I -1 



o » x 


L < 


* T, 

w ^ A 


°. i. *•.»’ aO V 

*„ ^ a ? ^ 

W :Mfc\ %■/ 

■ 

4 9 > ^ 

' -< v <* ‘'7V«‘ .(,' -o 

■*> -•"•>. <S>, 0 * -•‘"* 





4 


o rn X 


A 


: 

-V V * 





■*■ o v • : -o • 

, •.®'>' 5 - 0V ^ 

* <A O o. v^v^. rv h r% 

1 y .. ®* *..•• ^ *»■■•’ y 

v « 5 * .-r^-. *> V s t . 

"o % A^ * 

° <£V o 

^ «y ^ ^ ^ * 

^ \ - <, *' 7 V« 4 < 6 ^ '«. * 4 A 

^ o ° N G + - 0 ^ # # * O < & c 0 * Q + 

1*^ * *“ f f. . ^ /V^2^ -* 1 y' • r4>W\ <*" 

i°-V 4 -°'- : 

» 0 %^P<* J? C- \ 

'«k *"’• .A ... V ‘’■° v _*°' ... *"’• , 


A , 

*b & : 



%> 

% : \? 

>’° „ 5,0 A villR' ♦, 

w ^ * _ . . • * „ A < v^ ^ 4. 2 x ' y ^I’ <> n ^ <£*„ 4- „ . • 

A” ... ^ . \ v , o. 

































































































































































































































































































































































































































































































































































































































































































































































































































































